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Louise Farrenc's Trio for Flute, Cello and Piano: a Critical Edition and Analysis Andreas P

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Louise Farrenc's Trio for Flute, Cello and Piano: a Critical Edition and Analysis Andreas P Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Louise Farrenc's Trio for Flute, Cello and Piano: A Critical Edition and Analysis Andreas P. Tischhauser Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOUISE FARRENC’S TRIO FOR FLUTE, CELLO AND PIANO: A CRITICAL EDITION AND ANALYSIS By ANDREAS P. TISCHHAUSER A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2005 Copyright © 2005 Andreas P. Tischhauser All Rights Reserved The members of the Committee approve the treatise of Andreas Tischhauser defended on 31 October 2005. Jeff Keesecker Professor Directing Treatise André Thomas Outside Committee Member Patrick Meighan Committee Member Evan Jones Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to offer special thanks to the following individuals who have made this project possible: Sylvia Glickman, President of Hildegard Publishing Company, whose idea of republication led to this project; Charles DeLaney for his patience, inspiration, and expert instruction; my wife Katherine for her support and expertise in analysis and string chamber music; and finally my dissertation chair, Jeff Keesecker for his time meticulously overseeing the composition of this document and all his hard work on the committee and the mundane administrative work I could not perform from my remote location in Colorado. iii TABLE OF CONTENTS LIST OF FIGURES ..............................................................................................v ABSTRACT .........................................................................................................vii I. BIOGRAPHY OF LOUISE FARRENC ............................................................1 II. ANALYSIS AND BACKGROUND OF LOUISE FARRENC'S TRIO IN E MINOR FOR FLUTE (VIOLIN), CELLO AND PIANO, OP. 45 .................10 Background of the work ............................................................................10 Analysis of the first movement: Allegro deciso .........................................11 Analysis of the second movement: Andante ..............................................27 Analysis of the third movement: Scherzo ..................................................38 Analysis of the fourth movement: Finale: Presto ......................................46 III. CLOSING REMARKS ..................................................................................57 APPENDIX A: SCORE OF TRIO IN E MINOR FOR FLUTE (VIOLIN), CELLO AND PIANO, OP. 45 .....................................................................................60 First Movement: Allegro deciso..................................................................63 Second movement: Andante .....................................................................83 Third movement: Scherzo .........................................................................90 Fourth movement: Finale: Presto .............................................................100 APPENDIX B: COPYRIGHT PERMISSION ......................................................117 SELECTED BIBLIOGRAPHY .............................................................................119 BIOGRAPHICAL SKETCH .................................................................................125 iv LIST OF FIGURES Figure 1. First Movement, First Theme, Antecedent Phrase ..................................12 Figure 2. First Movement, First Theme, Consequent Phrase .................................13 Figure 3. First Movement, Second Theme, Phrase 1, Sub-Phrase 1 .......................14 Figure 4. First Movement, Second Theme, Phrase 1, Sub-Phrase 2 .......................15 Figure 5. First Movement, Second Theme, Phrase 1, Sub-Phrase 3 .......................15 Figure 6. First Movement, Second Theme, Phrase 2 .............................................16 Figure 7. First Movement, Closing Section, Phrase 1, Sub-Phrase 1 .....................18 Figure 8. First Movement, Closing Section, Phrase 1, Sub-Phrase 2 .....................19 Figure 9. First Movement, Closing Section, Phrase 2 ...........................................20 Figure 10. First Movement, Development, Opening Phrase ..................................21 Figure 11. First Movement, Recapitulation, Second Theme ..................................24 Figure 12. Analysis, Allegro deciso ......................................................................26 Figure 13. Second Movement, First Theme, Antecedent Phrase ...........................29 Figure 14. Second Movement, Secondary Theme .................................................29 Figure 15. Second Movement, First Theme, Variation 1 .......................................30 Figure 16. Second Movement, Transition from Variation 1 to Variation 2 ............31 Figure 17. Second Movement, First Theme, Variation 2 .......................................33 Figure 18. Second Movement, Secondary Theme, Variation ................................34 Figure 19. Second Movement, First Theme, Variation 3 .......................................35 Figure 20. Analysis, Andante ...............................................................................37 Figure 21. Third Movement, A Section, Antecedent and Consequent Phrases ......39 Figure 22. Third Movement, A Section, Phrase 3 .................................................40 Figure 23. Third Movement, A Section, Phrase 4 .................................................40 Figure 24. Third Movement, B Section, Dialog ....................................................41 Figure 25. Third Movement, Transition to Trio and Trio Thematic Material .........42 Figure 26. Third Movement, Transition to Coda and Opening of Coda .................44 Figure 27. Analysis, Scherzo: vivace ....................................................................45 Figure 28. Fourth Movement, First Theme, Antecedent Phrase ............................46 Figure 29. Fourth Movement, First Theme, Consequent Phrase ............................47 Figure 30. Fourth Movement, Transition Material, First Phrase ............................48 Figure 31. Fourth Movement, Second Theme, Antecedent Phrase ........................49 Figure 32. Fourth Movement, Tutti Closing of Exposition ....................................50 Figure 33. Fourth Movement, Development, First Variant from Transition Material ..............................................................................51 Figure 34. Fourth Movement, Descending Second Sequence ................................52 v Figure 35. Fourth Movement, Recapitulation, Second Theme in E-major .............54 Figure 36. Analysis, Finale: presto ......................................................................56 Figure 37. Original Plates, m. 119.........................................................................61 Figure 38. New Edition, m. 119 ............................................................................61 Figure 39. Missing Expressive Markings, Original Plates, mm. 21-24...................61 Figure 40. Consistent Expressive Markings, New Edition, mm. 21-24...................62 vi ABSTRACT Many flutists believe that the romantic period saw a decline in music for their instrument. One purpose of this document is to republish Louise Farrenc’s Trio in E minor for Flute, Cello and Piano, Op. 45 in an attempt to add quality literature to the repertoire of nineteenth century flute music. In the most recent edition, the score has been reproduced more legibly, corrections have been made to inconsistencies harmonically, articulations and phrasing has been more idiomatically constructed, and the notation made more contemporary. Prior to the completion of this treatise, the composition has been republished with an introduction by the author of this document. Additionally, in recent years, there has been an increase in the interest of the music of female composers and with it, the work of the romantic composer Louise Farrenc. Accompanying the musical score is a biography and critical analysis that will bring familiarity to a composer whose works have fallen from popularity, perhaps not due to the quality of her work but from the gender discrimination that existed during her lifetime. The first chapter of the document includes comprehensive biographical, historical, and cultural information from historical sources. Also included is information pertinent to this performance document through research of the personal correspondence and criticism contemporary to Louise Farrenc. The second chapter is a comprehensive analysis of the work including musical examples. The third chapter is a retrospective view of Louise Farrenc and the significance of the republication. A critical edition of the score of the trio will be Appendix A. This document will serve as a source of information that the reader may use to become acquainted with Farrenc’s compositions and chamber music. It will also serve as an extensive compendium to the author’s introduction of the republished work and will vii assist research into other works of nineteenth century chamber music and the music of female composers of this era. viii CHAPTER 1 BIOGRAPHY OF LOUISE FARRENC Louise Farrenc, born Jean-Louise Dumont in Paris, May 31, 1804, was descended from a long
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